Paintings conservator
They oversee the physical care of collections, and are trained in chemistry and practical application of techniques for repairing and restoring paintings.
A paintings conservator may also be called upon to consult with the RCM and an exhibition design team to ensure a work is stable enough for display, and determine how much exposure to environmental factors, such as humidity or light, it can withstand.
[1] Preventive care is the abating of potential deterioration and damage to a painting through previously designated policies and procedures surrounding the object's storage and handling.
Protective measures in an emergency plan should include prevention through risk management, preparedness and response training, and recovery arrangements.
An institution should know which staff member's are delegated to a project during a given circumstance, and be able to tell them how they will assess and move forward with the help of an emergency plan.
This could include preventing initial entry of pests into the structure through building maintenance, moderating the interior climate, and setting up an insect monitoring system.
Prior to the loan, a paintings conservator will assess the structure of the work for weaknesses and potential areas at risk.
The paintings conservator may also be called upon to collaborate with other personnel from the loaning museum to assess the environment of the institution that is borrowing the work.
Raking light also aids in identifying the topography of brush strokes in paintings, sometimes revealing the underlying original intent of an artist.
Through work with the National Gallery and the North Carolina Museum of Art, the scientists have determined that this laser can also be used to identify the chemical signatures of pigments and three-dimensional structures in layers of artwork.
Since natural varnishes tend to darken or discolor over time, attention from a paintings conservator is often necessary to remove, replace, or restore it.
Practical application of training may be applied in the form of internships or fellowships, depending on the level of education an individual has received.
[14] In 2012, Cecilia Giménez, an elderly woman without conservation training, attempted to restore an Ecce Homo fresco in a Spanish church.
The restoration attempt came to light after a family member of the original artist proposed a fund for conservation work.
